Port of Morrow may be the first new album from The Shins in nearly half a decade, but those five years were far from your typical hiatus. The new album may better serve as a reintroduction and/or reincarnation of frontman James Mercer, rather than a continuation of what we’ve come to know from the band itself. The primary reason is that since 2007’s Wincing the Night Away, the entire band with the exception of Mercer has been replaced. Port of Morrow is also the first album from The Shins to not be released on the Sub Pop label. Mercer is releasing the collection on his own label Aural Apothecary (distributed by Columbia). And perhaps most notably Mercer seems to have confidently taken the reigns with a distinct vision and sonic direction for the band.

For most fans, the change of the guard in terms of players does not result in a drastic sonic shift. There are a few familiar names that are now officially on the roster including multi-instrumentalist and songwriter Richard Swift, Joe Plummer of Modest Mouse on drums, and guitarist Jessica Dobson, a singer-songwriter in her own right. It is interesting to note that while it’s been five years since Mercer released an album with The Shins, he wasn’t absent from the music world. Remember just a couple years ago Mercer collaborated with Danger Mouse as Broken Bells. It’s not always easy to draw conclusions, but listening to Port of Morrow you get a sense that stepping outside of his comfort zone with Danger Mouse may have re-energized Mercer. He along with co-producer Greg Kurstin were behind the board on Port of Morrow and just maybe Mercer picked up a few production tricks from Brian Burton.

As for these songs, Mercer is as affectionate and clever as we’ve heard him. It’s easy to be enamored by the album’s first single “Simple Song”, but the love fest doesn’t end there. “Bait and Switch” is an upbeat, bright and quirky toe-tapper. And on “September”, another standout, Mercer is both seductive and open-hearted upon a dreamy musical canvas. Port of Morrow is one of those rare records where you don’t find yourself skipping tracks. You certainly have your stand-outs, but each song is compelling and pleasant in its own space. Call it a return or call it a reintroduction, regardless Port of Morrow is a fine new collection from Mercer and his new cast.

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For Bruce Springsteen, an artist of true iconic stature and fame, you sometimes wonder where the motivation comes from. He’ll sell records as long as he keeps making them and fill seats as long as he keeps playing in front of them. For ‘The Boss’ life doesn’t seem too shabby. However listening to his new album Wrecking Ball, Bruce seems anything but content. For Springsteen making records at this point is hardly about moving up Billboard charts or filling stadiums, it’s about marking a moment in time. Wrecking Ball speaks to our hardships, our challenges and the eventual hope that lies ahead.

“Wrecking Ball,” the song, debuted a couple years ago as a tribute to the venue and home to seemingly countless Springsteen shows, Giants Stadium. What was originally a farewell tribute to a concrete entertainment arena has morphed into the face (or voice) of a collection of songs that ask you to stand up and fight. What on paper reads cliché but on record inspires, Springsteen begs for “your best shot” and absorbs that metaphoric ‘wrecking ball’.
Taking its lead from the title track, this collection finds heart in its rebellious nature. There is passion in the rollicking, Celtic-themed “Death to My Hometown” as he indicts those “whose crimes have gone unpunished …” and “…walk the streets as free men now”. On< i>Wrecking Ball, Springsteen doesn’t waste words or hide behind them. On “Shackled and Drawn” he proclaims that “freedom is a dirty shirt … the shovel in the dirt keeps the devil gone” while “it’s still fat and easy up on banker’s hill … the party’s going strong”. That anger, outrage and openness never really fades out, but it does subside on the haunting and beautiful ballad “This Depression” where Springsteen confesses that he’s had his “faith shaken” but still holds hope.
Musically speaking, it’s a big album. Just as large as the topics Springsteen is taking on; the sound of this album is equal to that. Wrecking Ball see’s contributions from a number of E Street members, Tom Morello of Rage Against the Machine, and even the late Clarence Clemons whose sax parts are used on a couple songs. It’s funny, Wrecking Ball is one of those albums where you can dissect and analyze every lyric to every song and conjure up a myriad of emotions. But maybe all you need to know is that is a collection of songs that has heart. You may not agree politically or socially with what’s professed, but it’s a striking account of our times by a rock legend – and worth your ears.

It’s been two years since the release of Bruce Hornsby’s Big Swing Face and on his debut for a new label, Columbia Records, Hornsby comes out swinging with 11 great songs. On Halcyon Days, Hornsby is in classic form; it’s a 21st century album that recalls some of his best work starting with his debut The Way It Is in 1986 and on 1993’s Harbor Lights.

Some of Hornsby’s best songwriting appears on Halcyon Days. Eric Clapton plays on three songs including the outstanding “Candy Mountain Run,” and with Sting on the spirited “Gonna Be Some Changes Made.” Sting also contributes vocals on the title track. Elton John assists on the beautiful “Dreamland.” Throughout the album Hornsby and his accomplished band prance through stylistic waters on the psychedelic swirl of “Circus On The Moon,” and the ragtime inspired “What The Hell Happened.”

Halcyon Days, is inspired and filled with excellent playing and songwriting from a great artist who has always had a home on XPN.

Written by Bruce Warren

Release Date 8/17/2004

Track List:
1. Gonna Be Some Changes Made
2. Candy Mountain Run
3. Dreamland
4. Circus On The Moon
5. Halcyon Days
6. What The Hell Happened
7. Hooray For Tom
8. Heir Gordon
9. Mirror On The Wall
10. Song F
11. Lost In The Snow